Courtesy of Nick Briggs/Carnival Film and Television Limited 2013 for MASTERPIECE

The Grammy Awards are tonight, but for diehard ‘“Downton Abbey” fans, it’s time to find out how and if the Anna-Bates conflict resolves. How long can she keep her secret?

Never underestimate Bates and his persistence. Despite the pain of being rebuffed by his wife, he insists on being the first person to greet her in the morning, even though she’s moved out of their cottage and into the house. “I will keep it up until you explain to me what has gone wrong between us,” he says. “My life is perfect, and then in the space of one day it is nothing. To me, that requires an explanation.”

Mrs. Hughes starts making excuses for Anna as she witnesses their ongoing strife, saying she’s keeping Anna too busy. But then she makes the mistake of having a very private conversation with Anna in a hallway and—foolish, given how past secrets have leaked through vents and walls in this house. “Don’t you want to be honest with him?” she asks Anna. “Of course I do, but I know him,” says Anna. “I know what he’d do; and I can’t risk his future. “ Mrs. Hughes tells her it’s a mistake, and they separate…only to reveal Bates eavesdropping around the corner!

Bates later finds Anna in the boot room, and tries to coax out the truth from her. “I love you, and I want to find out why you don’t love me anymore,” he says. Instead, Anna says she’s going to Ripon for the day, and then leaves.

Finally, Bates plays the only card he has left: He exerts pressure on Mrs. Hughes. “You know what this is about, and you believe she should have told me,” he says, recalling the overheard conversation. But Mrs. Hughes still resists. “My wife no longer loves me,” he says. “The sight of me is torture for her, which is torture for me.” Then Bates delivers an ultimatum: “If you will not let me hear the truth, I will hand in my resignation now and be gone before she gets back.” When Mrs. Hughes pauses to think about it and says nothing, Bates says, “So be it,” and prepares to leave. “Anna loves you very very much,” says Mrs. Hughes. “And I think the pain of coming home to find you gone would finish her. So I will tell you what happened to make you stay. And if I’m doing the wrong thing, then I ask for the mercy of God.”

Mrs. Hughes reveals the truth—all except who committed the crime and when. Bates is practically shaking with anger upon hearing everything, and pushes to find out more details, asking specifically about the night of the house party. When Mrs. Hughes confirms it was that night, he says, “Then I know who it really was.” Mrs. Hughes had made up something about an anonymous attacker who broke into the house, but Bates isn’t buying it, and the wheels start turning in the direction that Anna had predicted. Even though Mrs. Bates swears she’s telling the truth and it wasn’t Green, Bates says he will find out the truth eventually.

Bates leaves, and breaks down in tears in the hallway.

He finally confronts Anna, telling her he knows what happened. “If it was the valet, he is a dead man,” says Bates. (Here is a missed opportunity, if he really wanted to find out the truth by any means, to say Mrs. Hughes told him it was Green.) Anna says she is now spoiled for Bates, and can never be unspoiled. “You are not spoiled,” he says. “You are made higher to me and holier because of the suffering you have been put through.”

Anna tells Mrs. Hughes she’s moving back into the cottage. “We’re going to try to put the whole thing behind us,” says Anna–or so she thinks. When Mrs. Hughes runs into Bates in the hallway, he says ominously: “Be aware: Nothing is over, and nothing is done with.”

Managing the Estate

Lord Grantham learns that one of Downton’s longtime tenants (“his forebears have been tenants since the reign of George III”) has passed away. Mary and Branson want to foreclose the lease, since the rent hadn’t been paid in a while, and farm the land themselves. Lord Grantham is saddened at this prospect and a lost tradition. “The world moves on and we must move with it,” says Mary, who has apparently gotten the knack of handling business matters quickly.

Speaking of moving on, Lord Grantham adroitly shares the newspaper announcement of Lord Gillingham’s engagement to Mabel Lane Fox. Mary tries to look composed, but as she walks away, that feeling of regret she expressed to Branson in the last episode washes over her face.

At the funeral of the tenant, Lord Grantham runs into Tim Drewe, the tenant’s son. Drewe tells Lord Grantham that he doesn’t want to move out, and that he wants to take on the tenancy, but Lord Grantham suggests the case is closed. “It’s no good painting me as Simon Legree,” he tells Drewe. “We gave your father a long time to get straight.” Drewe says he didn’t know about it, and then smartly appeals to Lord Grantham’s sense of tradition, mentioning how his family has farmed there since the Napoleonic Wars. “Surely that’s got to mean something,” he says. Lord Grantham agrees to meet with him the next morning, but doesn’t promise anything.

Mary suggests throwing a small birthday party for her father, and to cheer everyone up. Later on, we get a glimpse of the—what’s this? Oh yes, it’s baby George, her child, who has earned very little screen time thus far. I had nearly forgotten that Mary is, in fact, a mother. Joining George is young Sybbie, with father Branson.

In the morning, Lord Grantham points out to Drewe that he can’t pay all the arrears. “I’m a Yorkshireman, my lord,” says Drewe. “This is where I belong. We’ve worked this land in partnership with the Crawleys for more than a century.” Again, this is pressing all the right buttons for Lord Grantham, who then offers to personally lend the difference to Drewe.

When he next sees the family, Lord Grantham gets some flak for not discussing the Drewe situation with Mary and Branson first. “If we don’t respect the past, we’ll find it harder to build our future,” says Lord Grantham. “Where did you read that?” asks the Dowager Countess. When her son says he made it up, she says, “It’s too good—one thing we don’t want is a poet in the family” (Lord Byron, who was famously characterized as “mad, bad and dangerous to know,” being her example).

Lady Grantham points out the distinction between the legal and moral right to renew the lease when it appears that Mary still wants to kick Drewe off the land. When Mary presses Branson to pick a side, he says he’s with the farmers. “I have not abandoned all my socialism,” he says. Then Lord Grantham informs Mary that she will be the one to tell Drewe of their decision, whatever it is.

They eventually agree to let him stay on, and Drewe tells Mary that it makes him more determined to prove he’s worthy of their faith. He also reveals that Lord Grantham has lent him money. Mary takes it as a good sign that her father believed in Drewe so much that he did all this behind their backs. “You and I are in partnership with a very decent man,” she tells Branson.

Mary gets a surprise visit from Evelyn Napier, whom we saw in season one—you know, the guy who invited along Turkish diplomat Kemal Pamuk, which set up that oh-so-memorable night for Mary. Despite that memory, Mary looks delighted to see Napier (who in turn looks delighted to see her—Edith later wonders if he’s still in pursuit of Mary). “You’ve been in my thoughts a great deal, since the whole ‘ghastly business,’” he says.

Napier is in town on business to assess landed estates that might be facing difficulty after the war. “We have earmarked the ones in serious trouble, and you’ll be glad to know Downton’s not among them,” he says.

Mary insists that Napier stay at Downton during his visit, but Napier says his boss, Charles Blake, is also in town. It’s agreed that both of them will stay. Given that Napier introduced one of Mary’s past paramours, will this Blake be suitor No. 2? It usually takes one failed rebound (Gillingham) before something sticks, right?

The family gathers later on and Branson expresses his discomfort again about not fitting in. “I’m a man without a home,” he says. “I am stateless.” Since he won’t fit in back in Ireland, he ponders moving to America, where he has family, and can make a new start for Sybbie.

Top Chef

Budding chef Alfred learns the art of cooking.

Courtesy of Nick Briggs/Carnival Film and Television Limited 2013 for MASTERPIECE

Meanwhile, the kitchen staff is teaching Alfred how to cook in preparation for his Escoffier test. Daisy even pitches in, mustering up a cheerful demeanor, even though she later says: “It’s very hard, Mrs. Patmore. I feel like I’m helping him to leave us.”

Alfred learns he has been accepted to take the test at the Ritz in London. Later that night the female servants are admiring one of Alfred’s dishes that will be served for dinner, when Jimmy can’t resist getting in another dig: “I just can’t see the fun in a life chained to a stove.” What a charming thing to say in front of his of-the-moment interest, Ivy, who earlier revealed her intention to learn how to cook. Perhaps the veneer is starting to wear off for her.

Later on, when Jimmy asks Ivy to prepare tea, she looks less than excited to see him. “It’s not right, you know, when you speak against Alfred,” says Ivy. It’s finally starting to dawn on her. “He’s got ambition—it drives him—and I admire that.” Jimmy says he’s got plenty of ambition where she is concerned, but we’ll see how long she stays smitten.

When Alfred heads to London, Carson starts thinking about a possible replacement footman. He suggests Molesley for the job, even though the ex-butler bristled at taking on a footman’s role earlier. Mrs. Hughes isn’t so sure, but Carson dismisses the thought, believing that Molesley is so down and out he’ll take anything. Perhaps Carson needs to look at that portrait of Alice to be reminded of his humanity.

Avignon tastes one of Alfred’s dishes and says, “Well Mr. Nugent, you’ve done quite well.” Alfred says he can do better if given the chance (on a side note, I’ve always noticed Alfred was tall, but he is absolutely towering over all these other men in this scene). They discuss his work as a footman, and Alfred says he wants to do more with his life. “We have difficult decisions ahead, but don’t worry, we won’t keep you waiting,” is all Avignon offers.

The experience seems to have changed Alfred, for when he’s back at Downton he looks more confident, and has no qualms about opening the decision letter when it arrives (he was too nervous for the first letter, and had Mrs. Patmore open it). He finds out he didn’t get it, but the letter said he was nearly in the top four. Jimmy, being the petty person he is, says, “I expect they say that to everyone.” Carson reprimands him and says, “To fail at the first attempt does not mean that you won’t succeed later.”

This is perfect timing for Molesley to enter. “I feel I could contain my skills and guide them into a more modest channel without loss of dignity,” he tells Carson, who can barely contain a smirk. “You’ll be pleased to hear that I can accept your offer.” I’m sure it was very satisfying for Carson to tell him he’d missed his chance.

When Lady Grantham rings for breakfast, Thomas gives Baxter a knowing look. What mysterious past do they have? Baxter is off to good start with Lady Grantham, impressing her by adding a glass of orange juice to her breakfast tray since, as she says, Americans often drink it with breakfast. When Lord Grantham walks in and comments on how jovial his wife looks, she says, “Just Baxter reminding me of times gone by.”

Baxter starts sewing in the servants hall, while intrigue and fear over this new electric machine ripple through the staff. Luddite Mrs. Padmore, who didn’t like the introduction of kitchen gadgets earlier in the season, doesn’t appreciate the new technology. “I don’t think it has any business in the servants hall,” she says, and even suggests throwing it out. “Mrs. Patmore is not what you’d call a futurist,” says Thomas.

To press upon the changing times, we later see Lady Grantham explaining the benefits of a new refrigerator to Mrs. Patmore, who still wants to stick with an icebox. “Is there any aspect of the present day that you can accept without resistance?” asks Cora. Mrs. Patmore replies that she wouldn’t mind getting rid of her corset.

Later on we get clued in to Thomas’s latest schemes, as he asks Baxter how things are going with Lady Grantham. “She’ll be eating out of your hand,” he says, as he checks off the things necessary to make a good impression (America, and praising Lady Sybil). “That’s the intention,” says Baxter. “No enemies downstairs neither,” instructs Thomas. “That was Miss O’Brien’s mistake. Nobody liked her, so nobody told her anything.”

“They don’t like you much,” says Baxter. “That’s why you’re here—to rectify that failing on my part,” replies Thomas. Did Thomas save Baxter’s life at some point? Is this blackmail? What does she owe him and why? Baxter doesn’t seem to have the natural cunning streak in her the way that O’Brien and even Edna did.

When Mrs. Patmore has a torn apron, Baxter fixes it with her sewing machine, thereby gaining more credibility with the staff. Even Mrs. Patmore is impressed with the technology. “I can’t get over the speed of it,” she says as she watches the machine patch up the tear. Thomas tells Baxter, “Another one roped to the chariot.”

“I’m grateful for this job, Thomas, and we both know why,” says Baxter. “But what’s it all about?” Thomas reveals that he wants to know about what’s going on upstairs, as he knows Downton is destined for change. “Any detail, no matter how small,” he tells her. When Baxter asks him if he’s gone to the other lady’s maids, he comments on Anna. “She’s not an enemy, but she’s incorruptible, so we have nothing in common.”

A Good Deed

Dr. Clarkson tells Mrs. Crawley that they can best help Mrs. Pegg, a woman at the clinic, by helping her son find a job. The doctor suggests she talk to the Dowager Countess about a job as a gardener.

Mrs. Crawley meets young John Pegg, who sounds earnest in pursuing the gardening position. After he leaves, Mrs. Crawley reveals some doubt about her status in the Crawley family. “Lord and Lady Grantham have always been as kind as they can be, and I appreciate it, but I am not one of them,” she says. Perhaps she was expecting some consolation from the doctor, but she gets something quite different. “Lord Grantham admires you very much,” says Dr. Clarkson. “And if it serves you to think yourself unloved, then nothing I say will make any difference.” (What a perfect line to shut down self-pitying quickly.) “I think that’s rather harsh,” says Mrs. Crawley, to which he only gives an exasperated look. Perhaps this frank and strong side of Dr. Clarkson—one not muddled by romantic pursuits—is just what Mrs. Crawley needs to open her eyes and see what a catch he is.

Continuing on with her duty, Mrs. Crawley visits the Dowager Countess to convince her to take on young Pegg. “I wonder your halo doesn’t grow heavy,” replies the Dowager Countess. “It must be like wearing a tiara around the clock.” (Doesn’t that deserve a chuckle or at least a smile, Mrs. Crawley?) Isobel pushes still, and says she will be grateful. “Yes but your gratitude never seems to last,” quips Violet. “I’ve no sooner said yes, then you come back with another request.” But she finally relents, but with a warning that Pegg had better turn out to be as good as promised.

Pegg starts working on Violet’s estate, and the Dowager Countess comments on Mrs. Crawley’s persistence. “Wars have been waged with less fervor,” she remarks. This odd friendship between the two ladies continues to mark one of the series’ high points in dialogue. When Isobel suggests that Violet cares as much about the issues as she does, the Dowager Countess replies: “Nobody cares about anything as much as you.”

Later on, Pegg is watering plants inside the house when the Dowager Countess comes in. She wasn’t supposed to be back before a certain time, but she left a letter on her desk. “Has anyone else been here?” she asks, after looking over her desk. Violet, who seemed doubtful of the whole arrangement from the start, now seems to suspect a possible theft.

The Dowager Countess later meets with Mrs. Crawley and Dr. Clarkson, and airs her suspicions that Pegg took a paper knife that happened to be a gift from the king of Sweden. “I’m not saying he took it,” she says, “but I don’t see who else could have done it.” Dr. Clarkson says there’s no proof against Pegg, and Mrs. Crawley doesn’t doubt the boy’s honesty. Violet says she won’t sack him yet, but won’t allow him back in the house.

Danger, Edith Crawley, Danger!

Edith is coping with Michael’s move to Germany, as she waits around for letters that don’t arrive.

Edith tells her mother that she needs to go to London to tend to Michael’s affairs, but in reality she makes a secret trip to a Dr. T. Goldman. Is this the tragedy that we’ve been holding our breaths for, as foreshadowed by Aunt Rosamund in the last episode? Michael goes off to Germany and Edith is possibly pregnant?

Readers, what did you think of this episode? Leave your thoughts in the comments.

About Speakeasy

Speakeasy is a blog covering media, entertainment, celebrity and the arts. The publication is produced by Barbara Chai and Jonathan Welsh with contributions from the Wall Street Journal staff and others. Write to us at speakeasy@wsj.com or follow us on Twitter at @WSJSpeakeasy or individually @barbarachai.